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Ataerkil sistemin kadınları iyi-kötü, iffetli-namussuz, melek-şeytan ve bakire-yosma gibi birbirini tersinleyen ikili sıfatlarla sınıflandırması ve kadınla ilgili bu etiketlemeleri bozan karşı okumalar, edebiyatın ve düşünce tarihinin önemli meselelerinden biri olmuştur. Edebi eserlerdeki bazı kadın karakterler bu etiketlemelere uygun çizilirken bazıları da bu gibi etiketlemeleri bozan bir şekilde yansıtılırlar. Aphra Behn’in Restorasyon komedilerinden biri olan ve uzun adı Çapkın Denizci; ya da Sürgündeki Kraliyetçiler olan ama genelde kısaca Çapkın Denizci (The Rover) olarak bilinen oyunu ile Sadık Şendil’in Kanlı Nigar adlı oyunundaki kadın karakterler ataerkil sistemin kadınlar için kullandığı etiketleri reddetmekle kalmayıp neşeli söylemleriyle ve karnavalın veya karnavalesk durumun sunduğu gülmece ögeleriyle eril dünyayı alaya alır ve böylece gücünü zayıflatırlar. Bu oyunlarda kadın bedeni, eril güçle kadını temsil eden ötekinin söylemi arasındaki bir mücadele alanına dönüşür. Kadınlar için kullanılan etiketler makalede, Sandra Gilbert ve Susan Gubar’ın 18. ve 19. yüzyıl edebiyat eserlerinde kadının temsil biçimi ile ilgili düşünceleri bağlamında ele alınmıştır. Mikhail Bakhtin’in karnaval kavramı, Bakhtinciliğin feminist okumaları ve Michel Foucault’nun beden terbiyesi üzerine söyledikleri makalenin kuramsal çerçevesini oluştururken ayrıca kullanılmıştır. Bu kuramsal altyapıyla ele alındıklarında, incelenen eserlerdeki kadın karakterlerin neşeli söylemleriyle ataerkil söylemi işlevsiz hâle getirdikleri ve bu şekilde kendilerine dayatılan uysallık rolünü reddettikleri görülmektedir.
Male categorization of women with such binary epithets as good and evil, chaste and unchaste, angel and enemy or virgin and bitch and the subversion of these epithets by counter-readings of femininity have been common issues in the history of ideas and literature. While some writers have created female characters based on these labels, some works have presented female characters in a way that deconstruct them with their discourse of the other and disruptive modes of behavior. The female characters in Aphra Behn's Restoration comedy The Rover; or Banished Cavaliers, known shortly as The Rover, and the Turkish play Sadik Shendil's Bloody Nigar do not only refuse such epithets but also subvert patriarchy with their comic discourse and with the elements of laughter made possible by the carnival or the carnivalesque situation in these plays. In these plays the female body becomes a battleground on which the dominant patriarchal discourse and the discourse of the female other conflict. In the article, the epithets used for women are handled according to Sandra Gilbert and Susan Gubar's idea on the representation of women in the 18th and 19th century literature. Mikhail Bakhtin's idea of the carnival, feminist readings of Bakhtin, and Michel Foucault's words on disciplining the body are also employed in the theoretical framework of the article. Studied within this theoretical framework, it is seen that the female characters in these plays devoid patriarchy of its function to operate with their comic discourse and they refuse to play the role of docility imposed on them.
Male categorization of women with such binary epithets as good and evil, chaste and unchaste, angel and fiend or virgin and bitch and the subversion of these epithets by counter-readings of femininity have been common issues in the history of ideas and literature. While some writers have created female characters based on these labels, some works have presented female characters in a way that deconstruct them with their discourse of the other and disruptive modes of behavior. The female characters in Aphra Behn’s Restoration comedy The Rover; or Banished Cavaliers, known shortly as The Rover, and the Turkish play Sadık Şendil’s Bloody Nigar (Kanlı Nigar) do not only refuse such epithets but also subvert patriarchy with their comic discourse and with the elements of laughter made possible by the carnival or the carnivalesque situation in these plays. In these plays the female body becomes a battleground on which the dominant patriarchal discourse and the discourse of the feminine other clash. In the article, the epithets used for women are handled according to Sandra Gilbert and Susan Gubar’s idea on the representation of women in 18th and 19th century literature. Mikhail Bakhtin’s idea of the carnival, feminist readings of Bakhtin, and Michel Foucault’s words on disciplining the body are also employed in the theoretical framework of the article. Studied within this theoretical framework, it is seen that the female characters in these plays devoid patriarchy of its function to operate with their comic discourse and they refuse to play the role of docility imposed on them.
Alan : Güzel Sanatlar; Hukuk; İlahiyat; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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